Mulligan

Mulligan

ASIN: B000089YAI

Track Listings

1. Jeru

2. Festive Minor

3. Rose Room

4. North Atlantic Run

5. Taurus Moon

6. Out Back of the Barn

Tracks:

Get Happy
'S Wonderful
Godchild
Dinah
She Didn't Say Yes, She Didn't Say No
Bernie's Tune
Lullaby Of The Leaves
Utter Chaos #1
Aren't You Glad You're You
Frenesi
Nights At The Turnstable
Freeway
Soft Shoe
Walkin' Shoes
Aren't You Glad You're You
Get Happy
Poinciana
Godchild
Makin' Whoopee
Cherry
Motel
Carson City Stage

Tracks:

My Old Flame
Love Me Or Leave Me (Alternate Take)
Love Me Or Leave Me
Swinghouse (10in LP Take)
Swinghouse (12in LP Take)
Jeru
Utter Chaos #2
Darn That Dream
Darn That Dream (Alternate Take)
I May Be Wrong (12in LP Take)
I May Be Wrong (10in LP Take)
I'm Beginning To See The Light (10in LP Take)
I'm Beginning To See The Light (12in LP Take)
The Nearness Of You
Tea For Two
Five Brothers
I Can't Get Started
Ide's Side
Funhouse
My Funny Valentine

Amazon.com essential recording

Gerry Mulligan's off-the-bandstand relationship with Chet Baker could never be considered amiable, but once the two West Coast bad boys picked up the horns, everything was sweetness and light, though often underscored by a subtle and sweet tension. That's never been more apparent than on The Original Quartet with Chet Baker, a limited- edition, two-CD set (42 tracks!) that compiles the group's entire Pacific Jazz output (with the exception of their collaborations with Lee Konitz, available on Konitz Meets Mulligan. As the band that defined the swinging and sophisto West Coast sound, these Mulligan/Baker sides are laid-back but also sly and cerebral. While the rhythm section (bassists include Red Mitchell, Joe Mondragon, Bob Whitlock, and Carson Smith; drums were brushed by Chico Hamilton and Larry Bunker) lays back and affords the horns plenty of room, Baker and Mulligan circle each other like boxers one moment, lovers the next. It's a dance you don't want to miss. --S. Duda

Album Description

The pianoless Gerry Mulligan Quartet, which launched the careers of Mulligan, Chet Baker and Chico Hamilton, lasted only one year (June of '52-'53). These two remastered CDs cover all 42 tracks that the quartet recorded for Pacific Jazz in that one year in which the band invented itself, evolved, hit the big time and then disappeared. Recorded live at the Haig and in various studios, this music is essential modern jazz.

Customer Reviews:

A Cornerstone of Modern Jazz.......2006-05-31

The quartet that baritone saxophonist Gerry Mulligan formed with trumpeter Chet Baker in Los Angeles in 1952 enjoyed considerable popular success during its single year of existence; but as this complete collection of the band's Pacific Jazz sides proves, flash in this case had a solid grounding in substance. The simple - if decidedly unorthodox - decision not to employ a piano, thereby eliminating his harmonic center, pushed Mulligan to the very forefront of jazz's postwar development, and resulted in some of the most sparkling and tuneful performances in the history of the genre.
Starting with the leader's very first (pre-Baker) California recordings, GERRY MULLIGAN QUARTET traces the rapid evolution of this gifted group's sound, sensibility and personnel (An early version of the unit included a pianist but no drummer!), allowing listeners to share in the excitement these young men must have felt as they recorded three-minute masterpieces like "Lullaby of the Leaves" and "Soft Shoe" - pivotal works which sound as fresh, and dare I say it as important, today as they ever could have in their own era. Oft-covered warhorses "Makin' Whoopee," "My Old Flame" and "Darn that Dream" get spectacular makeovers here - the last in two different versions from which I defy anyone to pick a favorite. The live sets which made Mulligan's and Baker's reputations are well represented too, with bouncers like "Poinciana" balanced by such moody classics as "My Funny Valentine" and Mulligan's own "Funhouse." It's all here.
...Well, almost all. Those duly enchanted by this generous collection should seek out OJC's GERRY MULLIGAN QUARTET/CHUBBY JACKSON BIG BAND disc, REUNION and KONITZ MEETS MULLIGAN for more of these major musicians' efforts; all are well worth it.

Stunningly good.......2005-08-24

I wasn't very familiar with either Gerry Mulligan or Chet Baker when I bought this CD. Jazz is a relatively new interest for me, and I'm still feeling my way around. The overwhelmingly positive reviews sold me, though, and I decided to pick this one up. I'm *so* glad I did.

It's always a pleasure to hear such talented instrumentalists working together, but this CD takes it to another level entirely. You can almost feel the energy crackling between Mulligan and Baker when they play off each other's riffs. It's just amazing stuff. Whenever I play these CDs, I end up playing them a second time, and a third, and a fourth.

Get this set. You will not be disappointed.

Absolute beauty.......2005-03-07

I don't know if I should even attempt to compose a review for this release. I'm not certain I could even approach anything resembling "justice" for it. I'm sure I'll fall far short. But, that aside, here goes.

This cd, as my title indicates, is absolutely beautiful. To start, I would recommend getting this cd along with "Chet with Russ Freeman" and the Chet Baker/Art Pepper release that was once known as "Playboys" when on Capitol Records that is now called "Picture of Heath" in it's reissued form. These three releases combined make for a great combination/trilogy.

That said, this cd is fantastic. It captures Chet, and Mulligan, in their infancy, right on the cusp of what was to come. You can still hear the naivete in Chet's playing and while it's not as great as his "Chet" cd (which is absolutely, hands-down, my all-time favorite), it is just as magical. Just in a different way. This is the absolute epitome of the "West Coast Vibe." And, now, for me living here in Miami Beach and having left my home of San Francisco (where I lived for over 25 years), it brings back many, many memories of being very young, slaving away at menial jobs to go spend all my money at record stores to pick up jazz lp's (yes, lp's). All my minimum wage earnings went to Chet, Pepper, Getz, Garland, Mitchell, Adderly, Miles, MJQ, Monk, Webster, Hawkins, Milt, etc, etc, etc. Then, I'd take them home, cherish them, make mix tapes, and then hit the PCH or the city streets in my Ford Falcon with this as my company.

That's the truth. A bit of a diversion from a "review" of this cd, but it kind of, kind of, catches a vibe about this cd that, if you can at all dig what I'm saying (and hopefully, if you're checking out this release anyway - you're a soul I can relate to and CAN catch my drift), then you can get this vibe. But, if you know anything about this scene, then you know what I mean anyway. This is fluid, soul-touching stuff. If it needs any explanation, chances are there isn't anyone who can really explain it to you, nor anyone who would want to, and this is probably something you'd never get. But, it probably won't need explaining. You get this, you put it in, you close your eyes, you'll know. Top down, sunny day or rain on window pane with your heart full of sadness. Oddly, it fits both 'cause I've tried it. But just do yourself a favor and pick this baby up, along with the others I mentioned. You will be glad you did.

Baritone Sax and Baker Horn.......2001-02-06

It does not take many words to tell you that these 2 CD's have the great and unique deep baritone sax along with that smooth horn of Chet Baker to make a winning combo. Buy it. You'll like it. You'll love it. There's some pretty nifty drum work on some tracks as well.

Great Jazz.......2000-03-01

This set is the best I have ever heard from Gerry Mulligan or Chet Baker. They started as musicians just trying to make names for themselves, and they definitely succeeded. If you are looking for a lot of well-known tunes, I have to warn you, these CD's don't have a whole lot. It makes up with style and great harmonies and melodies. Whether it's Mulligan blowing out his great sound into genius solos or Baker playing a melody with Mulligan on a harmony or countermelody, these CD's don't have any bad songs. The rhythym sections change throughout the album, as do the years they're from, but the purity of the cool jazz stays the same. I would highly recommend this to any fans of Mulligan, Baker, cool jazz, or to any jazz listeners who want to hear a wonderful collaboration between two great musicians.

Average customer rating:

Welcome to the West
4 1/2 The Parts Better Than the Whole
Blow Men Blow...
Best of Swing Meets Best of Cool
Good for any occasion

Gerry Mulligan Meets Ben Webster
Gerry Mulligan
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

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King of the Tenors

ASIN: B0000047A9
Release Date: 1990-03-21

Tracks:

Chelsea Bridge
The Cat Walk
Sunday
Who's Got Rhythm
Tell Me When
Go Home
In A Mellotone
What Is That Thing Called Love
For Besse
Fajista
Blues In B Flat

Amazon.com

This 1959 recording brings together two fine musicians from worlds that one might not usually connect. Gerry Mulligan's light and airy baritone saxophone represents the "cool," and Ben Webster's burred and blustery tenor is the epitome of a very "warm" swing. When this was recorded, however, the quintet was actually a working band. Mulligan had a profound appreciation of Webster's talent, and the two shared an affection for the music of Duke Ellington and his composing partner, Billy Strayhorn, both of whom are represented here. With pianist Jimmy Rowles, an accompanist of legendary subtlety, and the sparkling rhythm team of bassist Leroy Vinnegar and drummer Mel Lewis, this is wonderful small-group jazz, literally beyond classification. There's something unique in the ensemble sound of the two horns, with all the gravity concentrated in the higher tenor, but this is very much a blowing session, with Webster at his lyrical, passionate best. --Stuart Broomer

Customer Reviews:

Welcome to the West.......2007-02-19

After aquiring a couple hundred "jazz" cd's ranging from the most avant garde to the most mainstream playing from the Blue Note 50's, I noticed I had nothing from Gerry Mullian or the "West Coast" White Cats. I have always thought Ben Webster was quite awesome, especially the fact that he played with Ellington and was influneced by Johnny Hodges. So this album really suprised me. I could tell that this was a making of the west coast, you can feel the cloudy Jack Kerouac San Fransico streats in this record. Mellow and Upbeat at the same time, these guys trade lines as if they have been playing together for years. The fact that these guys did indeed play with each many times before the sessions and were friends explains why this one is loved more than most of the large amount of all star jam sessions Norman Granz put together. Mel Lewis and Rythm section play beautifully. This exceeded my expectations

4 1/2 The Parts Better Than the Whole.......2006-12-10

Yes, it is an excellent CD, but it's not the best work done by either man, and I don't quite buy the symbiotic quality ascribed to this work by some others. The quartet does excellent work together, and I love the song choice, but there's a little too much respect going on here, as if the two leads were very careful--perhaps too much so--about giving each other their due. As a result, there's a little hesitancy in their work, and some of the songs just don't let loose enough, don't swing to the fullest.

Having said that, it's still a very enjoyable CD, especially on "In A Mellowtone," "Sunday," the loose, jokey 'Shoes' number, and their MJQ chamber music-like take on "Chelsea Bridge." The latter song may indeed be worth the price of the CD, but this composition probably makes any CD worth its price. That's more a testament to the song, one of the greatest in the jazz library, and only those with minimal competence could ruin it. There's a little too much blues on the CD as well. I love blues, but when played on a jazz CD it can get tedious after awhile.

All the musicians are in great form, and it's exciting to listen to this meeting of two of very best jazz musicians, but I think their solo work tops this collaboration. Ben Webster is always wonderful; you might want to start with "Big Ben." I've just discovered Mulligan (I have no idea why it took me so long), but I feel his two live concerts in Paris are more exciting and creative. After listening to Webster and Mulligan separately, you'll have heard each at his best, then give this CD a try
as a generally very satisfying experiment.

Blow Men Blow..........2006-04-16

Two great sax players, one a tenor the other a barritone went into a recording studio at the end of the Fifties and produced a great album; "Gerry Mulligan Meets Ben Webster". Both musicians were graduates of big bands, Mulligan with Gene Krupa and Webster with Ellington where they perfected their trade, here, they jam together with a small group of distinguished players: Leroy Vinnegar, Jimmy Rowles and Mel Lewis. This updated CD version includes a number of cuts that were not on the original album,including "In A Mellow Tone". A terrific playlist of ballads and swing, the two horns compliment each other beautifully and the end product is thrilling. I suggest you sample their take of "Chelsea Bridge". Gerry and Ben will be a great addition to your music library. As the Hipsters of this era would intone; "You
will dig it in a large way man."

Best of Swing Meets Best of Cool.......2006-01-22

This album has a special place in my heart as my favorite of all the collaborations between older musicians of the swing era and younger musicians who were changing jazz in the fifties. Of all the old school players, Webster was the most skillful at keeping his own musical personality while keeping an open mind to the influence of the newer innovators. GERRY MULLIGAN MEETS BEN WEBSTER goes way beyond a simple "jam session" in which two musicians get together, show their stuff, then pack up their horns and go home. This album shows the signs of being a true artistic collaboration between very different, yet equally gifted, musicians. From the opening of "Chelsea Bridge," where Webster plays the melody as Mulligan makes his trademark use of the baritone sax as a rhythm instrument, this album is brilliant all the way through.

This is one collaboration where the whole is truly greater than the sum of its parts. By combining Webster's warm swing with Mulligan's cool West Coast style, these two great players produced a work of unique artistry.

Good for any occasion.......2005-11-11

Whether its your first introduction to these two great artists, jazz in general, or if you're casting around for something interesting, this is for you. Lazy, cool, smooth, a perfect accompaniment at the end of a long hard day. I'd give it more stars if possible!

The Best of the Gerry Mulligan Quartet with Chet Baker

Average customer rating:

More fun with every listening...
Maybe the (sorry) essental jazz cd of the Fifties
If you only invest in one Mulligan/Baker album . . .
Classical recordings; essential listening for the jazz-fan
Doing good

The Best of the Gerry Mulligan Quartet with Chet Baker
Gerry Mulligan Quartet
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music

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Night Lights
What Is There to Say?

ASIN: B000005HGI
Release Date: 1991-03-26

Tracks:

Festive Minor

Customer Reviews:

More fun with every listening..........2007-06-29

This CD gives us 14 relatively short tunes, featuring the baritone sax of Mulligan and the trumpet (sans vocals) of Baker, recorded in 1952-53, and one reunion effort from 1957. The first five, from '52, are the least interesting. It seems to me it took Gerry and Chet a half-year to figure out how to play together and separately, what arrangements worked best for their piano-less quartet, and what songs inspired both of them to blow their best. Then comes nine performances from 1953 which are uniformly wonderful, especially the more familiar songs such as "Makin' Whoopee" and "My Old Flame", "Love Me or Leave Me" and "Darn That Dream" and of course, "My Funny Valentine" which went on to be Chet's theme song of sorts. While I have other Baker CD's I like even better, this one rewards repeat plays. I only own one other Mulligan disc, "Two of a Kind" with Paul Desmond, and that one, a studio project which does not work out totally well, does not show off Gerry quite like his own quartet did. If you are a fan of classic jazz, this represents the early '50's West Coast Cool Jazz category quite well.

Maybe the (sorry) essental jazz cd of the Fifties.......2004-07-26

I had been a Baker fan for a few years, and liked GM too, but in my ignorance, I'd never lighted upon this cd until reading James Gavin's wonderful (Deep in a Dream) Baker biography. How one of the most despicable characters in music history could have made such beautiful music is beyond me (and, as he admits, beyond Gavin, too), but by god: Chet Baker had an extraordinary gift which, when combined with the enormous talents of his fellow heroin-addict Mulligan, created a spectacular collaboration on this once-in-a-lifetime cd.

When you read in Gavin's book about the trials and tribulations that Mulligan/Baker were going through in LA as these tracks were being laid down -- Mulligan's conviction and incarceration for possession, remember, ended the quartet's existence, although Chet Baker would make up for not-so-lost time with long stretches in the slammer himself in the years ahead -- it is utterly remarkable that these two lost-in-space cadets got together long enough to do something this remarkable!

If there is a better rendition of Valentine, anywhere, please let me know. In the meantime, Mulligan w/Baker may be the single most essential Fifties jazz cd any novice to the field must buy -- and buy now.

This was where Baker, btw, cut his Funny Valentine chops -- he recorded, methinks, thirty or so versions, at least, of his signature piece -- and anyone who can listen to the magnificent interplay on this cd between two of the greatest of jazz greats who, in 1952-54, had no idea either of them was going anywhere, besides to prison, will make strong men crumble, women weep, and children stand up and pay attention.... k

If you only invest in one Mulligan/Baker album . . ........2001-12-17

. . . this is THE one.

Frankly, it's hard to imagine a partnership of two individuals less likely to succeed: Mulligan, New York-raised, formally trained, tall, fair-haired, his theoretician's instincts already refined by years in several influential late-40s big bands and a successful collaboration with Gil Evans/Miles Davis; Baker, on the other hand, a man who would come to be termed "jazz's 'dark angel," southwest-born and bred, largely self-taught and instinctive in his approach to music, a "problem child" virtually from birth.

The traits they shared were largely negative: histories of drug abuse and an inability to deal with their "inner demons," lousy tempers, and an incredible talent for fatally sabotaging their personal relationships, intellectual impatience versus an inbred inferiority complex. Even their "instrumental philosophies" were at variance; Mulligan was prone to treat his baritone sax almost as a tenor -- or even alto -- in his approach, while Chet Baker consistently seemed to eschew the arrogant brassiness of most trumpeters of his (or, for that matter, the current) era.

Try to imagine these guys "hanging out" together, or -- a bold leap of imagination -- at a barbecue with their families of the moment. Never mind; it never happened.

What did happen -- thankfully -- is that, for eleven months in the early '50s, playing night after night at The Haig in L.A., Gerry Mulligan and Chet Baker found common cause -- a lingua franca -- in the music they made together, and in the sound they helped to develop (the so-called "West Coast" or "cool jazz" school), as here memorialized in a selection of remasterings from original Pacific Jazz 78 rpm singles.

There's a very obvious dynamic presented in the selections herein: That, whatever their relationship may have otherwise been (and by all accounts it was, to say the least, rancorous), as soon as they hit the bandstand -- or the recording studio -- they gave themselves over to the music and found themselves uncannily on the same wavelength. The pull of this common wavelength, by the way, is demonstrated in this collection by the inclusion of "Festive Minor," which they performed together at an abortive 'reunion' six or so years after they had gone their separate ways; nonetheless, it shows that they were still capable of finding that common language. And celebrating together.

If you're unfamiliar with the "Gerry Mulligan Quartet Featuring Chet Baker" (as they were originally billed), particularly if your interest was only recently sparked by a couple of selections from "L.A. Confidential" (both of which --"The Lady Is A Tramp" and "Makin' Whoopee" -- are featured here), this is the CD to start with. Your investment's minimal, the rewards will be great. PLUS . . . if you never go on to pick up the other two Mulligan/Baker CDs currently available (although I suspect you will), you'll still have a solid understanding of their collaboration and its contribution to jazz.

Classical recordings; essential listening for the jazz-fan.......2001-09-25

It is difficult to imagine a serious collection of jazz recordings in which this quartet is not represented. The only quarrel one might have with this CD is that it is not as complete as one would like - but it is, nonetheless, representative, and the music remains irresistibly attractive: fresh, melodious, engaging, original (not least in its orchestration). As Mulligan himself was the first to admit, the idea of a jazz band without piano was not, by itself, new. But the way THIS band was composed and worked certainly WAS new. The interplay between Mulligan and Baker was highly successful, and "made up" for what to some might seem an odd "omission" of a piano, as the baritone and trumpet were very much used as two beautifully interwoven voices. The overall effect was highly spontaneous and inspirational, though these days one would like to hear longer solos (which could not, then, be provided.) Both Mulligan and Baker played great improvised solos, even if short; Baker was probably never more appealing to listen to than in those early years, whether lyrical or crisply fiery, though he still produced good music afterwards. Mulligan changed - in particular, grew more "robust" and venturesome in later years - but did not necessarily play better than he does on these tracks. The other musicians provided excellent backing. This music will not date, even though it is clearly of its time - indeed, provided a milestone, and a sensation, when it was first released.

Doing good.......2000-04-29

This album, containing some of the most well-known Mulligan/Baker numbers, sure is doing good. The spontaneous music created by these two extremely gifted men is so timeless and has such a great deal of classic elegance, many people appreciate that, and there seems to be a bit of a sales boom for their music at the beginning of this new millenium.

Respect is due for these two forefathers of the Cool Jazz movement, and there is nothing bad to say about this album. But if I was going to buy only one album by the Mulligan/Baker quartet, it wouldn't be this one, but the Gerry Mulligan - The Original Quartet With Chet Baker (2CD), where the music is just as fine, and there is more than twice as much of it!

Quartet
Average customer rating:

still stunning, 50 years on...

Desmond's creative period

Classic Cool

Musical telepathy - vol. 1

They were made for eachother!

Quartet
Gerry Mulligan
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000046RP
Release Date: 1993-11-16

Tracks:

Blues In Time
Body And Soul
Stand Still
Line For Lyons
Wintersong (Take 1)
Battle Hymn Of The Republican
Fall Out
Tea For Two
Wintersong (Take 2)
Lover
Untitled

Customer Reviews:

still stunning, 50 years on..........2007-04-15

This recording - originally issued as BLUES IN TIME - is one for the ages. It's amazing to think, while listening to this album, that it was recorded almost 50 years ago, in August 1957. It just illustrates that great music is timeless - it's as fresh and relevant today as when it was new. I would have been 7 or 8 years old when the LP was originally released - sadly, I hadn't yet discovered the wonders of jazz...if I had heard this at the time, my head would probably have exploded.

The 50s were a particularly exciting time for jazz - the mid-to-late 40s had produced some of the greatest players of all time, experimentation was embraced, and styles were shooting off in all directions, much to the benefit of both the musicians and listeners. Gerry Mulligan, who would prove his staying power over the years, remaining vital to the end of his days, had been largely responsible for the mind-blowing arrangements and overall sound on Miles Davis' landmark BIRTH OF THE COOL sessions (recorded in the late 40s, released on LP in 1957) - Paul Desmond had established his reputation as well, and was a highly respected member of the Dave Brubeck Quartet. The Brubeck group's recording of Desmond's composition `Take five' did as much as any other event to spread the popularity / acceptance of jazz beyond the smoky nightclubs where it was featured.

Gerry Mulligan was known all his life as an irrepressible sit-in player - he would show up at gigs by other musicians, planned or impromptu, and play along. In standard arrangements or when improvising, his work was stellar. One such sit-in, at a 1954 Carnegie Hall appearance by the Dave Brubeck Quartet, was the first instance of Mulligan and Desmond sharing a stage - the two reedmen found an instant rapport, but had difficulty bringing any recording plans to fruition due to label contract conflicts. Through a series of trade-offs, GERRY MULLIGAN / PAUL DESMOND was recorded later that year and released by Fantasy Records. BLUES IN TIME in 1957 was followed by TWO OF A MIND (on Verve) in 1962, and WE'RE ALL TOGETHER AGAIN FOR THE FIRST TIME (on Atlantic) in 1972, which also included Dave Brubeck.

Coming out of the age of Charlie Parker - and undoubtedly feeling Bird's great shadow, as did any sax player of that time - Desmond carved out his own niche with his alto, combining the energy of bebop with one of the keenest senses of melody and harmony in the field. He was where the freedom and energy of New York met the `cool' of the California jazz scene - he combined these two (and other elements) effortlessly and seamlessly, with a quiet humility, always showing the greatest admiration and respect for fellow players. There's a great story about someone musing aloud to Desmond whether Brubeck would have `made it' without him - Desmond quickly and gently replied, `I never would have made it without Dave. He's amazing harmonically, and he can be a fantastic accompanist. You can play the wrongest [sic] note possible in any chord, and he can make it sound like the only right one.'

BLUES IN TIME is a dream of a session. There are originals by both Mulligan and Desmond, along with some standards of the day - `Body and soul'; a great quasi-bebop rendition of `Tea for two' that you might not recognize without reading the title; and the Rodgers / Hart classic `Lover'. It's hard to pick standouts here - but I would have to give a nod to Desmond's `Blues in time' and `Wintersong', as well as Mulligan's great `Line for Lyons' (did he ever record a bad version of this tune...?) and `Stand still'. Mulligan's rich baritone and Desmond's lyrical alto dart and weave in and out of each other's lines, finding harmonies, laying down supporting riffs, and sometimes just laying out - I can just picture one or the other simply stepping back to dig what the other is playing. There's not a single line where one gets in the way of the other - the whole album is a joy, from beginning to end, with the two leaders being supported very ably by Joe Benjamin on bass and Dave Bailey on drums.

This is one of those classics that no jazz enthusiast should be without - and, truthfully, something that should be in the collection of anyone who enjoys jazz...or any great music...at all. The currently available version seems to have been re-mastered with reasonable care, and only lists for $[...]. What are you waiting for...?

Desmond's creative period.......2006-11-10

Paul Desmond is well known and broadly admired for his bell-like sound (tone), but this set of recordings well demonstrates the inventive quality of his earlier sesions. His interaction with Mulligan in this piano-free quartet environment brings out the chromatics that might be missed in the Brubeck era recordings. Among his really best.

Classic Cool.......2001-12-07

This CD is a classic example of what the West Coast Cool sound is all about-- beautifully lyrical and deeply cerebral at the same time. Gerry Mulligan does his best work since his sessions with Chet Baker; Paul Desmond proves that he had as much to do with the success of the Dave Brubeck Quartet as did Brubeck himself. Mulligan and Desmond play off one another brilliantly-- Mulligan's adventures in the lower register and his sense of timing seem to be a tailor made counterpart to lyrical players like Desmond (and the aforementioned Baker), giving them free reign to soar in the upper reaches of the melody. With solid work from the rhythm section of bassist Joe Benjamin and long-time Mulligan collaborator, drummer Dave Bailey, this CD really swings in places. (Not that unusual for Mulligan, but Desmond really seems to be letting go here.) Also worth noting: while they are both excellent musicians (Mulligan's range on baritone sax is tremendous; Desmond's melodic creativity on alto is ethereal), neither really goes out of the way to show off his chops the way some more contemporary saxophonists like James Carter and Joshua Redman often seem compelled to do. Mulligan and Desmond are cool enough to pull off the Cool without stretching, and they know it.

Musical telepathy - vol. 1.......2001-02-22

This is one of my all-time favorite CDs...and that's saying something given the size of my jazz CD collection. Jazz musicians talk about the "language" and "vocabulary" of their music. This album proves that conversations can exist in jazz. Listening to Desmond and Mulligan "converse" is like overhearing a discussion between two very good friends. Their conversation covers the spectrum of emotion...at times lively, humourous, pensive, thoughtful. Sometimes they anticipate each others "remarks" playing identical sentences in perfect harmony. I'm thankful that this session was followed by one of equal significance..."Two of a Mind".

They were made for eachother!.......2000-05-13

This is one of the best records of either Desmond or Mulligan I have ever heard. What makes it even better is that they are are togther. All of their songs seem to flow and move with such energy and spirit. All I can say is that they were made for each other, and to borrow something form another review I read "If there is a heaven Mulligan and Desmond are playing their music there." "Cuase God would have this joy no where else."

Average customer rating:

GORGEOUS MUSIC!!!
Great Music
Great Music
Absolute Beautiful Jazz !!!
Absolutely beautiful

Night Lights
Gerry Mulligan
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music
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Gerry Mulligan Meets Ben Webster
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ASIN: B0000046PU
Release Date: 1990-10-25

Tracks:

Night Lights (1963 Version)
Morning Of The Carnival From 'Black Orpheus'
In The Wee Small Hours Of The Morning
Prelude In E Minor
Festival Minor
Tell Me When
Night Lights (1965 Version)

Customer Reviews:

GORGEOUS MUSIC!!!.......2004-03-26

Mulligan was one of my favorite musicians. Not only the BEST on baritone, but an incredible writer and extraordinary arranger. On Night Lights, you have the "mellow" Mulligan refined and distilled to his best. And Art Farmer & Bob Brookmeyer are so "perfect". I used to hear them all, live, and only Brookmeyer still survives. Timeless and beautiful music that will be enjoyed forever.

Great Music.......2003-06-14

I saw this recommended in an essential list compiled by NPR. Art Farmer as a side man was enough of a hook, but after listening to this music, I'm looking at Mulligan's other recordings. This is a beautiful piece of work.

Great Music.......2003-06-14

Absolute Beautiful Jazz !!!.......2002-12-12

Just got it for a month and never stopped listening to it. It is one of the best smooth Jazz I've ever heard! 100% recommended.

Absolutely beautiful.......2001-12-21

The soul and the depth that Mulligan, Brookmyer, Farmer and Hall exude is awe inspiring. The recording is very mellow. The tempos range from kinda slow to really slow. But the playing has such intense feeling; it just cuts right through you. When I finish listening to this cd, I feel like crying. Not because the playing is so melancholy, but because I don't believe that I'll ever hear something so deep and beautiful as this recording. This is as good as it gets.

Average customer rating:

Stan Getz and Gerry Mulligan together
Does it get any better than this?
Our Delight
Stellar example of simultaneous improvisation
High energy romp

Getz Meets Mulligan in Hi-Fi
Stan Getz with Gerry Mulligan
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

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Gerry Mulligan Meets Ben Webster
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ASIN: B0000047CI
Release Date: 1991-06-25

Tracks:

Let's Fall In Love
Anything Goes
Too Close For Comfort
That Old Feeling
This Can't Be Love
A Ballad
Scrapple From The Apple
I Didn't Know What Time It Was

Customer Reviews:

Stan Getz and Gerry Mulligan together.......2007-04-04

Very together work.. fantastic counterpoint..they play like one instrument

Does it get any better than this?.......2007-02-08

Great to get this in CD, since my orginal Vinyl of this seems to have disappeared. Great music, great musicians.

Our Delight.......2006-07-31

Jazz is our delight brother cats. Life is so boring sometimes that you and I, my jazz friends, deserve to take a pause and enjoy the marvel of music to lift us up. You can't find a more delightful listening experience than this encounter between Getz and Jeru. It is fantastic believe me. This record is something that when I turn back to it, it makes me discover again why I love jazz. It has been one of the first jazz albums I did buy, something like 15 years ago ... it's still refreshing after all these years. It is light, funny, swinging, splendid ... it is simply one of the best examples of Jazz you can find out there. Jazz the fifties way of course, not that thing that today some people call jazz that is unbelievably boring. This is Jazz. And you can't stop to stomp your feet. You have a fantastic rhythmn section, Stan Levey and Ray Brown, MEN, so the swing is garanteed =)))))). Lou Levey played the piano (one of the best in the west coast movement). Than you have a couple of the best soloists that EVER graced the history of Jazz music, Stan Getz and Gerry Mulligan (THE man who plays the bari, nothing more to add here). The program begins with the splendid "Let's fall in love" and it's all there. They're all swingers except for the wonderful tune "A ballad" which is, of course, a ballad. You evena have a Charlie Parker number, Scrapple. The joy of swing, a music that these guys plays perfectly, light as butterflies, deep as oceans. THEY'RE TRUE MASTER!!! Every tune is a master interpretations. Than Stan and Jeru change horns and demonstrate to us (if necessary) how good thay could play with another type of instrument. It is simply a perfect album, jazzcats, if you don't own it... YOU SHOULD. YOU SHOULD.

Stellar example of simultaneous improvisation.......2005-09-12

Stan & Gerry play beautifully on this recording. Their energy is infectious, their sound is full, and their ideas are spontaneous and creative.

On almost all the cuts you'll hear Stan & Gerry improvising on the same chorus. They do it so well you almost don't realize it's happening unless you really listen. This kind of playing is impossible without the big ears both these guys had.

The rhythm section is great as well, but the horns are what stand out in my memory.

High energy romp.......2002-07-13

Having listened to both the present Getz/Mulligan album and the more acclaimed Meets Ben Webster recording, I don't see that Getz/Mulligan album is any less worthy. If you enjoy uptempo saxophone, this album will become a favorite. Even the songs are well-chosen standards, with Mulligan's refreshingly slower 'A Ballad' a welcome selection after a set of faster numbers. 'Too Close For Comfort' and 'Let's Fall in Love' are simply superb, nicley improvised, upbeat without being frenetic or overwrought.

The reasons for the 4-star rating -- which should NOT dissuade you from Getz/Mulligan -- are that a couple of numbers (especially 'Anything Goes') seem uncomfortably fast, as though this was a duel instead of a duet, and secondly because there is a sense that these are two colossal talents who were unaccustomed to playing together: the chemistry isn't great, so that even casual listeners will notice the tension that comes with cutting off and overlaying notes. You want to listen to both, but not always at the same time.

Lou Levy's piano continues to be a pleasure in the cool jazz of that era. He has a background role here, but know that you're listening to a talent, even if piano is not the focus here.

Sound quality is good for a recording of this vintage -- remember that 'Hi-Fi' is relative, and 1957 stereo was still evolving. Still, it beats monophonic.

Tracks:

Paridise
In Rio
Under A Star
The Sweet Albino
Willow Tree
Embroidered
Tarde Em Itapoan
Amor Em Paz
Wave
Tema Pra Jobim
North Atlantic Run

Customer Reviews:

A Wonderful Album!!!.......2006-05-02

I was doing some looking for some other Gerry Mulligan CD's, happened back across this one, and realized there is a serious lack of reviews. What a shame. This is a wonderful album, with every tune being a winner. Mulligan sounds incredible on this, as does Duboc. I had not heard her before hearing her on this CD, but she has a wonderful voice. Bordado (Embroidered) - #6 - is one of the most beautiful songs ever written. Not just Mulligan tunes, but anything. It really does give you goosebumps.

So - give this one a try and you certainly won't be disappointed.

Wonderful collaboration w/Brazilian singer Jane Duboc.......1999-11-19

I originally purchased this CD in 1994 at a garage sale. Paraiso remains one of my all time favorites to this day. In fact, I have bought several copies as gifts for friends. The music that Mulligan and this immensely talented group of (mostly) Brazilian musicians presented works for me on several different levels. If listening critically, it is a joy to hear Mulligan seemingly float through this material while maintaining the integrity and authenticity of a rather delicate musical genre. At a more casual level, I have attempted to sneak this in as background music while entertaining guests, but this collection of bossas, sambas and the like, refuses to be ignored. Invariably it is commented upon, the volume on my system is increased and conversation stops dead as Paraiso takes center stage. Not only have I shared this CD with friends that are not out and out `jazzers', I have made it a point to expose my core group of friends in the music business to Paraiso. It is an example of an album on which everything was done right, and a stellar example of Brazilian jazz. Without exception the arrangements are rhythmically and melodically interesting. Jane Duboc's intonation is dead on and her tone, breathtaking. Sung in her native Portuguese, these tunes take on a seriously sensual timbre. Technically, the recording was made when Telarc was still considered an audiophile label. The music has a superb, spacious soundstage making very good use of sonic imaging. My preference to have had Mulligan's horn recorded a bit dryer would be my only criticism here. Highly recommended.

A delight!.......1999-08-24

This album is a delight. Do not be put off if you do not know Jane Duboc - she is a very pleasant singer. Mulligan complements her very well and, of course, provides most of the charts. It is music to share with your friends who may not be out and out jazzers.

uma dupla fascinante.......1999-07-06

Considero um dos melhores trabalhos da cantora Jane Duboc com o genial Gerry Mulligan, vale a pena

Celso Ferro

Gerry Mulligan and the Concert Jazz Band at the Village Vanguard
Average customer rating:

Great Early 1960's "Big Band" Jazz

A different kind of "big band"

This HAS also been released as part of the Complete Verve Gerry Mulligan Concert Band Sessions on Mosaic

This is incredible

As good as it gets big band jazz!

Gerry Mulligan and the Concert Jazz Band at the Village Vanguard
Gerry Mulligan
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music
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Night Lights

ASIN: B0000631D6
Release Date: 2002-05-07

Tracks:

Blueport
Body And Soul
Black Nightgown
Come Rain Or Come Shine
Lady Chatterley's Mother
Let My People Be

Customer Reviews:

Great Early 1960's "Big Band" Jazz.......2007-05-24

The Concert Jazz Band was not your usual big band. At one point Gerry worked with what he called a "tentet" - this is kind of an outgrowth of that instrumentation. Clark Terry, Bob Brookmeyer, Mel Lewis and of course Gerry Mulligan are at the top of their form here.
Also try to find "Concert Jazz Band On Tour" (with Zoot Sims) which is listed on Amazon as available new. There's also a live Paris recording of this group now available, which features Zoot as a guest soloist. I bought all the original Verve CJB albums on vinyl when I was learning to play tenor sax. Used to love to try to swing along with Zoot Sims and Gerry Mulligan.
Gerry put together a ten member group in 1992 to re-record the "Birth of the Cool" music. Called "Re-Birth Of The Cool" it was recently available on the GRP label as a CD. This is very worthwhile as well - as are the original sessions (with Miles Davis) from 1949. Phil Woods plays superbly on alto in place of Lee Konitz on the newer "Birth". Wallace Roney plays a commendable trumpet, and I think I like Mulligan's work as much or more in his old age as in his 20's.

A different kind of "big band".......2007-05-12

Gerry Mulligan is usually associated with small group "chamber jazz", frequently with no drummer, or with "cool jazz", such as The Birth of the Cool with Miles. However, Mulligan got his start with big bands and wrote arrangements for Claude Thornhill, Stan Kenton and others. This is a different kind of big band, however.

First of all, Mulligan is a type of minimalist. He liked to arrange with "space" to allow the musicians to improvise. That is certainly true here, and he makes great use of his many outstanding soloists, such as Zoot Sims, Clark Terry, Bob Brookmeyer and of course Mulligan himself.

Second, when it is time for ensemble writing, he writes with a lot of punch, demanding very tight playing, as is very evident here. The playing and writing are both excellent.

There are several highlights, but the best moments on the album are the back and forth "trading" improvising by Mulligan and Terry in "Blueport" (absolutely infectious), and the ensemble playing in "Lady Chatterly's Mother".

This recording is an absolutely essential part of any Mulligan-lover's collection as it shows a different side of his talent. It should also be in any big band lover's collection. I hope that Verve keeps producing the album for a while.

This HAS also been released as part of the Complete Verve Gerry Mulligan Concert Band Sessions on Mosaic.......2006-11-24

Mosaic MD4-221 was released in an edition of 7500 in 2003. It has 4 remastered CDs containing all five albums made by this outstanding band. This one Verve CD is a perfect introduction to the set, but if you love it you will really want to pass it on to a friend and get yourself the Mosaic set, which also includes their usual full treatment booklet with outstanding photos and commentary as well as the complete session discography. As of 11/2006 the Mosaic site lists it as "Last Chance" meaning supplies are running low. Do yourself a favor and get it now, as all Mosaic boxed sets eventually do sell out and then become available only on eBay for a higher price. I own many Mosaic sets and this is one I truly treasure.

This is incredible.......2006-01-22

I bought this sometime in 2005, loved it, but decided not to review it because right on the sleeve (it's a cardboard package with the cd slipped inside a fuzzy little envelope like the Sam Rivers - Crystals package, not a jewel case) it says it's a limited release that goes out-of-print in september of 2005. I just figured there's no point in reviewing it since the review would effectively die in several months. Now here we are in 2006 and it's still available.

The band is Gerry Mulligan on baritone sax and piano. Mel Lewis drums. Bill Crow bass. Nick Travis, Clark Terry, Don Ferrara trumpets. Bob Brookmeyer, Willie Dennis, Alan Ralph trombones. Gene Quill clarinet and alto saxophone. Bob Donovan alto. Jim Reider tenor saxophone. Gene Allen baritone saxophone and bass clarinet.

Who knows how much longer this will be around. If you think you might want it, GET IT. This band is amazing and the sound of the recording is fantastic! I like the couple slower tunes too, quite lovely interpretations of these tunes, but the uptempo stuff is the heart and soul of this album. There's not a single note I'd want to change here and the intensity is really something to behold. This band swings ruthlessly and the soloing is impeccable.

Even if you're not what you'd call a "big-band person", don't let that stop you. Glenn Miller this is not! Then again if you have high blood-pressure or arthritis you may want to take your medicine before popping this into the player because your heart-rate will rise and you're going to be moving. This is one of my favorite cds I bought in all of 2005 and from my first listen last year to my most recent listen yesterday, I've been in envy of everyone who ever attended a concert by this band on one of their good nights. I assume this was a phenomenal night because this thing knocks me out from the first track to the last, but if they were even better than this, and if that stuff was recorded, then please some label, any label, release or re-release all those albums because my soul and wallet are waiting.

As good as it gets big band jazz!.......2005-10-12

For those of you who were never enthralled with the Gerry Mulligan-Chet Baker "West Coast" cool school sound, do NOT overlook this album. The writing is excellent and Clark Terry and Mel Lewis bring the fire you would expect to the live date proceedings. Remember those "Cannonball" Adderley live club recordings where the excitement was palpable? You get that here. The beautiful finale to the record is "Let My People Be" where Clark Terry inspires the entire band to chuck the written arrangement and start riffing ad-lib Basie-style behind him. It's better than you-know-what and one wishes it'd never end!

Average customer rating:

An Amazing West Coast jazz recording
Fans of Paul or Gerry or sax in jazz will enjoy this reissue
Very Pleasant Interplay
Two sax stars jamming together in '62

Two of a Mind
Paul Desmond , and Gerry Mulligan
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music

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ASIN: B00008VGMU
Release Date: 2003-04-15

Tracks:

All The Things You Are
Star Dust
Two Of A Mind
Blight Of The Fumble Bee
The Way You Look Tonight
Out Of Nowhere
Easy Living
All The Things You Are
The Way You Look Tonight
Untitled Blues Waltz
Untitled Blues Waltz

Customer Reviews:

An Amazing West Coast jazz recording.......2004-06-22

So I'm a 20 year old Music History major and a jazz fan, and this is one of my favorite albums, aside from albums like Kind of Blue and the like. So, you can take this or leave it.

Okay, so you take two West Coast jazz legends, Gerry Mulligan (who played with legends such as Chet Baker, Billie Holiday, Lester Young, Coleman Hawkins, and many others) and Paul Desmond (who also played with an illustrious group of musicians, but was best known for his work with Dave Brubeck), throw in some jazz/pop standards (All the Things You Are, Stardust, Way You Look Tonight, Out of Nowhere, Easy Living), add some of this and that (Two of a Mind, Blight of the Fumble Bee) and out comes this album, full of flavor and drive that one wouldn't think 2 white men with an alto and a bari could produce. It's upbeat, fresh, and simply wonderful if you're starting a collection of modern jazz.

Fans of Paul or Gerry or sax in jazz will enjoy this reissue.......2003-09-23

"Two of a Mind" is a studio-only project from the summer of 1962. Desmond had done a record led by Gerry several years prior, and it was Mulligan's turn to play with Paul on a project he would control. Because of heavy workloads, the two principals collaborated in three separate sessions during June, July and August in New York. Also due to scheduling difficulties, the rhythm section changed at each session. On the six tunes which made the original LP, there are three different bassists and two different drummers. Also on the six LP selections, Desmond did a little studio trickery: some of the improvised solos were put together from different sessions, and on one tune he overdubbed a third saxophone for one verse. If you didn't know this, however, you'd never guess it. The counterpoint improvs of Gerry on baritone and Paul on alto are consistently interesting. Overall the disc is more uptempo than Desmond's other work as a leader. The product lacks that special magic which can often be found on a good recording by a quartet which plays live together and often, but it is a subtle loss. This reissue adds five bonus tracks, including two with guitarist Jim Hall which did not make Desmond's final list for LP inclusion, but which are quite nice. The two leads are highly skilled, and they seemed to like each other a lot and to bring out good things for one another. Not Desmond's best work by a long shot, nor Mulligan's, but worth owning if you are partial to either man. I'm glad BMG is doing these Bluebird First Edition releases from the RCA vaults. The booklets are usually quite good. They come in cardboard cases instead of jewel cases, and I'm not sure if I like that or not yet. Maybe they could knock a dollar or two off the price and be an even better value, but if, like me, you enjoy the classic jazz of the 1946-'66 generation, you should buy some of these reissues to encourage the company to keep them coming.

Very Pleasant Interplay.......2003-08-09

I enjoy both of these two separately and I had high expectations for this album. It almost met them - but very good overall. The best part of the album for me was the absolutely flawless way they played together; Two Of A Mind is a perfect title.

Two sax stars jamming together in '62.......2003-05-03

A nice, informal session with cool jazz alto saxophonist Paul Desmond and his likeminded West Coast pal, baritone Gerry Mulligan. This disc features several songs that were skillfully edited together from multiple studio takes -- pretty seamlessly, when you listen to them -- and they show the deft, good-natured interplay and genuine warmth these two shared. The CD reissue adds five new tracks, only two of which are alternate (or unedited) versions of songs that appeared on the original 1962 album. Included are two loose-limbed jam sessions that also featured guitarist Jim Hall, one of Desmond's most sympathetic creative partners. Perhaps a bit forceful overall, and not as fluid and soft-touched as Desmond's best work, but still a fine jazz album.

Average customer rating:

Late night Bird?
For Jazz Fans

Late Night Jazz
Various Artists , Oscar Peterson Trio , Charlie Parker , Stan Getz / Joao Gilberto , Wes Montgomery , Clifford Brown , Erroll Garner , George Shearing , Gerry Mulligan , and Bill Evans
Manufacturer: Rebound
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000047RE
Release Date: 1995-04-16

Tracks:

Night Train - Oscar Peterson Trio
Corcovada - Stan Getz/Joao Gilberto/Antonio Carlos Jobin
The Shadow Of Your Smile - Wes Montgomery
Smoke Gets In Your Eyes - Clifford Brown
My Funny Valentine - Stan Getz/J.J.Johson
Night And Day - Charlie Parker
Old Black Magic - Erroll Garner
Quintessence - George Shearing
Goin' Out Of My Head - Wes Montgomery
Body And Soul (Live Version) - Gerry Mulligan
Midnight Mood - Bill Evans
Autumn Leaves - The Herbie Mann Nonet

Customer Reviews:

Late night Bird?.......2007-01-26

There is an implied mellow or introspective mood with an album called LATE NIGHT JAZZ. Such dreamy feelings are well-established on this collection until Charlie Parker jars us from our reveries and gets the cops banging on the door with his blaring and raucous rendition of "Night And Day." This jolt halfway through the set is enough to give a ferret insomnia!

Except for that one misstep (and a quick poke-in-the-ribs crescendo on "Body And Soul"), LATE NIGHT JAZZ consistently delivers perfect wee small hours music, as performed by some of the best names in mid-20th century jazz. Transfer quality here is top notch-- songs are full-length. No liner notes beyond a playlist.

TOTAL RUNNING TIME -- 57:12

For Jazz Fans.......2005-06-02

This is a collection taken from the vaults of the Verve and Mercury labels, featuring easy listening jazz from the 1940s to the 1960s. It has 12 cuts starting with "Night Train," and ending with "Autumn Leaves." It includes Stan Getz, Charlie Parker, Wes Montgomery, Gerry Mulligan, and other artists. Total playing time is not given.

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